Michael Vance   Mark Allen   Michael Vance Books
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George Perez. Mention that name to the average comics fan and you will, at the least, receive a respectful response. At the most, you could hear an excited verbal dissertation listing that fan’s favorite Perez works and how they impacted his or her life at the time. Well, their hobby life, at any rate. In an age when the word “icon” may be in danger of overuse, it’s safe to say George Perez is approaching such status. Now, there’s a definitive work covering the man and his artistic legacy - George Perez: Storyteller, by Christopher Lawrence.

There is a reason why George Perez engenders heartfelt enthusiasm from so many fans. The man is an extremely talented creator. More than celebrating just that, however, Storyteller gives readers a peak at the whys and wherefores of his assignments to the many projects for which he is so fondly remembered, garnered from a very long and involved interview with the man, himself. His memorable runs on Marvel’s Avengers, D.C.’s Teen Titans and Crisis On Infinite Earths, as well as those well-known special projects, such as The Incredible Hulk: Future Imperfect and JLA/Avengers, as well as many lesser-known works, are addressed in a crowd pleasing hardcover edition.

I especially enjoyed Perez’s candor in the book, especially when addressing his years-long struggles with meeting deadlines and overall professional dependability. In a profession that has, at times, seemed overrun with massive egos, it’s gratifying to hear a creator of Perez’s caliber claim responsibility for mistakes, and then work to make it right. That says a lot about, not just the work, but the man.

George Perez: Storyteller is recommended for all fans of superhero comics, because, at some point, every fan has come into contact with his stellar work. It is also recommended for those interested in comics history, as the contributions of Perez are considerable. Find the book at your local comics shop, some bookstores and at www.dynamicforces.com. George Perez: Storyteller, published by Dynamic Forces, Inc., 208 pages, $29.99.

Review by Mark Allen

One of the most (if not THE most) attractive aspects of Marvel Comics, beginning with the inception of their superhero revival in 1961 with the Fantastic Four, has been the vulnerability of their characters. In AND out of their costumes, they had problems, both self-made and inflicted upon them. No stranger to that trend was Tony Stark, a.k.a Iron Man. One of the best examples of this billionaire philanthropist’s non-charmed life is collected in a trade paperback originally published in '84 called The Power of Iron Man.

Written by David Michilinie, Tony Stark is taken through his paces by a mysterious assailant behind the scenes, as he faces several different villains, as well as multiple manipulations of his armor, once with fatal results. Add to this Stark’s personal struggle with alcoholism, a subject not tackled seriously in comics to that point, and you have one of Michilinie’s greatest accomplishments in the comics industry.

If that weren’t enough, readers are treated to the amazing art combo of John Romita Jr.’s pencils and Bob Layton’s art finishes and inks. Both now longstanding figures in comics, their work was amazingly action-oriented, expressive and detailed even 20+ years ago. In fact, even though I’ve always been a fan of Romita, Jr., it’s my contention that, while his work has improved in many aspects over the years, it has lost a certain dynamic fluidity since his early days drawing characters such as Iron Man and Spider-man. In other words, you can see something in The Power of Iron Man that you just can’t see anymore.

One of the best things about this collection, however, is that it hails from the days when creators didn’t feel compelled to place superheroes in “real life” settings. Imagine that; imaginary concepts in an imaginary world. Who’da thunk it?

The Power of Iron Man is recommended for all fans of superhero action and adventure. Find it at comics shops, and online retailers and auctions. The Power of Iron Man, published by Marvel Comics, prices vary.

Review by Mark Allen

Who is The Black Coat? He’s a spy who leads The Knights of Liberty, opposing the tyranny of the British in Colonial New York City. Right off the bat, you have to give credit to Ben Lichius, Adam Cogan and Francesco Francavilla, the creators of The Black Coat: A Call to Arms - there aren’t many (any?) modern comics works set in the Pre-Revolutionary War period. This may be a first. Regardless of whether or not they are trailblazers, however, one thing is certain; The Black Coat is worth your time.

Writers Lichius and Cogan spin a web of intrigue, adventure and downright macabre “creepiness” as they lay out the Knights’ struggle against an organization called “The League.” The presence of a shadowy mastermind concealed in bandages adds an element of mystery, while a Mr. Hyde-like serial killer called “The Butcher” supplies the appropriate “chill” factor. I’ll not reveal the secret that makes that character all the more indomitable, but it’s a fun detail that cranks up the story’s sense of urgency.

The art work on the story is handled by Francavilla, who has a wonderful eye for detail, as well as the use of blacks and textures. His evocative style sets the tone for the story very well, and is integral to maintaining the horror factor. I’ve said it before and surely will again, it’s a very small number of comics artists who can perform well in the black and white medium. Say hello to Francesco Francavilla, one of those who live there.
All in all, The Black Coat delivers the goods, and is one of those hard-to-find worthwhile alternatives to the glut of superhero books out there. It is recommended for older readers, due to some graphic imagery. But, even at that, the creators are good at weeding out the “gore” factor. It’s disturbing without being disgusting. Find it at comics shops, online retailers and auctions and at www.the-black-coat.com. The Black Coat: A Call to Arms, published by Ape Entertainment, 104 pages, $12.95.

Review by Mark Allen

My first impressions of Shark-Man upon spotting it at the local comics store: “Garish. Derivative of so many other comics that combine the name of an animal with ‘man’. Not worth my time.” Thus, I’ve once again learned the lesson that you truly can’t judge a book by it’s cover. Shark-Man is worthy of note.

Writers Ronald Shusett and Steve Pugh introduce readers to a futuristic city on the sea called New Venice and it’s founder Alan Gaskill, a multi-billionaire who also happens to be the mysterious hero known as Shark-Man. From the beginning, they weave a tale which includes the hero confronting hi-tech pirates, ravenous great white sharks, a city-wide “mutiny” of sorts and a murder mystery which..., well, you really should see for yourself. They also provide an intriguing cast of supporting characters and arrange for future events in a way that appears interesting enough to help keep things going. Bottom line: this was an entertaining story that hooked me (no pun intended) from page one.

Artist Steve Pugh, with assistance from Garry Leach, provide the visuals. Did I call the cover “garish?” Well, yes. May the artists forgive the time it took for my eyes to adjust to what is truly an elevated style when compared to most of what is on the racks today. The ultra-realistic art of Shark-Man grabs you, shakes you and demands you take notice of the incredible detail, amazing draftsmanship and dazzling color that abound on every page.

Is Shark-Man shockingly original? No. It is, in some obvious aspects, derivative. Is it a beautifully executed comic, with interesting characters, striking artwork and even a twist or two in the first issue? Without a doubt. It’s a thrill-ride in every sense of the word, folks. Hence the name of the publisher, I suppose.

Shark-Man is not, however, recommended for younger readers, due to some violent imagery. Find it at comics shops, online retailers and auctions or at www.thrillhousecomics.com. Shark-Man #1, published by Thrill-House Comics, 32 pages, $3.99.

Review by Mark Allen

"Okko the ronin heads a small group of demon hunters, wandering the realms of Empire" reads a blurb promoting a new comics title from Archaia Studios.

Are you surprised? Isn't every manga about a ronin, alone or with crew, wandering Japan with bloody sword drawn? So, originality will not recommend this title.

Traveling with Okko are a giant in a red mask and a drunken monk. They search for Little Carp, a young girl kidnapped by pirates. Ho-hum.

And it is all written and drawn not by an American imitating manga, but by a Frenchman!

But, wow, what a Frenchman!

Originality is rarer than hen's teeth, so it is really style that makes or breaks any work of art. And this guy is drowning in style!

He's got all of the basics of story-telling down pat; his words and art do not yell 'look at me!', allowing the story to shine as it should. Visual characterizations and personalities
are all distinct and intriguing.

So, why wow?

Leaning towards a realistic style but peppered with minimalism as well, Hud's art is dynamic, distinctive, and entertaining. It jumps when jumping is needed, and lies still when the story needs to rest as well. In particular, it melds perfectly with the coloring to produce a perfect whole.

Yes, there is some violence and some nudity, but both are handled with restraint, allowing room for a reader's imagination to supply what is needed.

Okko is highly recommended for adults who aren't offended by graphic violence and nudity. Okko: The Cycle of Water #1 (of 4)/32 pgs., $3.95 from Asp Comics/art and story by Hub/sold at comics and book stores and www.aspcomics.com.

Review by Michael Vance

Surely, an adequate test of whether or not you’ve purchased a good book is a faint sadness at turning the last page. If so, then Stan Lee’s Amazing Marvel Universe is a good book.
..
Written by Roy Thomas, a Marvel scribe and editor for many years, the book catalogs the major works of Stan Lee at Marvel in an insightful and entertaining manner.

Highlighting 50 “legendary Marvel moments,” the book also treats fans to hundreds of full-color cover and page reproductions dealing with important events in Marvel’s vast superheroic history.

Making the book even more enticing is the digital playback device that is attached. Containing 68 voice tracks from Stan the Man himself, readers can gain special insight from the uber-imaginative creator. These selected excerpts from an interview with Lee enhance the printed information and illustrative glory found within the pages to such a degree as to make this a must-have for Marvel fans, comic book enthusiasts, pop culture nuts, or what have you.

If I were to wish one thing about this book, it would be that it could be thicker, with more pages and more information. Considering the years Roy Thomas spent behind the scenes at Marvel, he is in a position to reveal historical tidbits that many fans-turned-researchers could only dream of. As it is, he brings to light several items that I never knew, even after close to 35 years of reading comics. You might be surprised, as I was, to learn that Marvel’s character the Black Panther once changed his name for political reasons. Or that the Comics Code Authority rejected artwork for a particular Marvel comic due to a puff of smoke in the panel. Interesting stuff, to be sure.

Stan Lee’s Amazing Marvel Universe is highly recommended for all fans of superhero comics, comic book history or Marvel Comics in general. Find it at comics shops, bookstores and online retailers and auctions. Stan Lee’s Amazing Marvel Universe, published by Sterling Publishing Company, Inc., 200 pages, $50.00.

Review by Mark Allen

Smilin’ Jack was one of the earliest and longest running adventure comic strips. Beginning in 1933 and continuing until 1973, it fed the public’s hunger for everything aviation through the exploits of pilot Smilin’ Jack and an amazing supporting cast of bizarre villains and beautiful babes.

Hot Rock Glide (HRG) reprints an episode from 1938-1939 that in-troduced several of Jack’s most important characters: the villainous, bug-eyed Head, hefty Fat Stuff, and Downwind, a pilot whose face was never shown.

HRG is a non-stop, action-filled thriller representative of cartoonist Zack Mosley’s strengths: engaging characterizations, the ability to tell an adventure story marbled with visual humor, and the real secret of his success, his unabashed love of aviation. Exotic locals added spice.

In this volume, Jack proves that no good deed goes unpunished as he and Fat Stuff end up in a horrible prison with seemingly no hope of escape.

Mosley’s love of aviation is obvious in a minimalistic art style that focuses on the diverse aircraft of his time as much on the varied cast of his comic strip. Somewhat reminiscent but not imitative of Chester (Dick Tracy) Gould’s art, Mosley’s visual story telling is flawless, energetic, and engaging.

His second love is obviously the ‘de-icers’ or beautiful women who populate Smilin’ Jack. Drawn in the ‘good-girl’ style of the late ‘30s and ‘40s, they are a delight to the eye without being sleazy.

Hot Rock Glide is recommended for readers of all ages. The Hot Rock Glide/108 pgs., spiral-bound chapbook, $35 from Jill Mosley/sold at on-line auctions and at www.smilinjackart.com.

Also available are De-Icers Galore, reprinting strips from the 1930s and 1940s, and Brave Coward Zack, the autobiography of Zack Mosley focus-ing on his aviation career. All are recommended.

Zack Mosley will be inducted into the Oklahoma Cartoonists Hall of Fame in 2007.

Review by Michael Vance

Where comics are concerned, I have to admit to being a continuity buff. I don’t agree with many of the decisions and directions of the Big Two publishers (Marvel and D.C. for any newcomers) these days. Regardless of my personal predilections, however, a well-done piece of work is just that. Marvel’s Captain America: Winter Soldier is such a work.

Winter Soldier tells the tale of the return of Captain America’s teenaged sidekick of World War II, Bucky Barnes. Presumed killed in that war, by Cap and generations of readers alike, it is revealed that Barnes has been a secret weapon of the KGB for decades, doing “wet work” as it were under the codename “Winter Soldier.”

Far be it from me to reveal anything further, as writer Ed Brubaker weaves a fascinating tale rife with suspense, adventure and intrigue. Honestly, elements of this story resemble such fan-favorite t.v. shows as “24" and “Alias,” so fans of those programs should take note. Oh, and there happens to be some superhero action thrown in, to boot. This is Captain America, after all. Just not your daddy’s.

Artist Steve Epting (ably assisted by Mike Perkins) is a joy on this book. His realistic style, attention to detail, expressive characters and mastery of scenes tranquil, frantic and everything in between make him one of the finest artists working in comics, today. This being one man’s review, however, I’ll add that handy and often necessary phrase, “in my opinion.” Then, I’ll dare you to check it out and see if I’m wrong.

No, the fan in me who loves continuity did not love the concept of Bucky’s return. That fan was silenced (with extreme prejudice), however, by the fan in me who loves a well-crafted story. Having come in late, I can’t wait to see what happens to Bucky Barnes, next.

Captain America: Winter Soldier is recommended for fans of superhero action and the afore-mentioned programs. Captain America: Winter Soldier Vol. 2, published by Marvel Publishing, Inc., 136 pages, $14.99.

Review by Mark Allen